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home·artworks·Self Portrait
Self Portrait by Beauford Delaney

plate no. 4923

Self Portrait

Beauford Delaney, 1944

oilExpressionismself-portraitportraitfigurehatfaceexpressionism
some experience helpful

Recreating this painting will help students develop skills in expressive brushwork and color mixing to create dynamic portraits. It also encourages exploration of non-realistic color palettes.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
4

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the head, hat, and shoulders, focusing on proportions.

  2. step 02

    Block in the background with a thin layer of yellow ochre, varying the tone slightly.

  3. step 03

    Establish the main color areas of the face using broad strokes of green, yellow, and hints of red.

  4. step 04

    Define the hat with bold strokes of red, adding white and black for highlights and shadows.

  5. step 05

    Paint the shirt with blue, using turquoise and white for highlights and variations.

  6. step 06

    Add details to the face, focusing on the eyes, nose, and mouth, using a variety of colors and brushstrokes.

  7. step 07

    Refine the edges and contours of the figure, blending some areas and leaving others raw.

  8. step 08

    Add final touches and highlights to enhance the overall expression and vibrancy.

color palette

primary · yellow ochre · cadmium red · ultramarine blue

secondary · viridian green · titanium white · ivory black

Achieve the skin tones by mixing yellow ochre, green, and small amounts of red and blue. Use white to lighten and black to darken. Mix blue and yellow to create the turquoise highlights on the shirt.

techniques

  • ·impasto
  • ·broken color
  • ·expressive brushwork
  • ·color layering
  • ·alla prima

common pitfalls

  • →Over-blending the colors, resulting in a muddy appearance.
  • →Being too literal with color, not embracing the expressive color choices.
  • →Losing the overall structure and form due to excessive detail.
  • →Not varying the brushstrokes enough, leading to a flat and lifeless painting.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·acrylic or oil paints
  • ·yellow ochre paint
  • ·cadmium red paint
  • ·ultramarine blue paint
  • ·viridian green paint
  • ·titanium white paint
  • ·assorted brushes (flat and round)

optional

  • ·palette knife
  • ·painting medium
  • ·easel

Use heavy body acrylics or oils to achieve the impasto effect. A medium can be used to thin the paints if desired.

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